Although quite an early work, the arabesques contain hints of Debussy's developing musical style. The suite is one of the very early impressionistic pieces of music, following the French visual art form. Debussy seems to wander through modes and keys, and achieves evocative scenes through music. His view of a musical arabesque was a line curved in accordance with nature, and with his music he mirrored the celebrations of shapes in nature made by the Art Nouveau artists of the time. Of the arabesque in baroque music, he wrote:
“that was the age of the ‘wonderful arabesque', when music was subject to the laws of beauty inscribed in the movements of Nature herself.”
The two arabesques are given these tempo marks:
Arabesque No. 1. Andantino con moto
This arabesque is in the key of E major. The piece begins with parallelism of triads in first inversion, a composition technique very much used by Debussy and other Impressionists which traces back to the tradition of fauxbourdon. It leads into a larger section which begins with a left hand arpeggio in E major and a descending right hand E major pentatonic progression.
The second quieter B section is in A major, starting with a gesture (E-D-E-C♯), briefly passing through E major, returning to A major and ending with a bold pronouncement of the E-D-E-C♯ gesture, but transposed to the key of C major and played forte.
In the middle of the recapitulation of the A section, the music moves to a higher register and descends, followed by a large pentatonic scale ascending and descending, and resolving back to E major.
Arabesque No. 2. Allegretto scherzando
The second arabesque in G major is noticeably quicker and more lively in tempo. It opens with left hand chords and right hand trills. The piece makes several transpositions and explores a lower register of the piano. Again notable is a hint of the pentatonic scale. It closes in a similar fashion to the first arabesque. The style more closely resembles some of Debussy's later works.
In popular culture
Arabesque No. 1 was the theme music to the PBS show Jack Horkheimer: Star Gazer. The version used is an electronic rendition by Isao Tomita, from the album Snowflakes are Dancing. This version is also played thematically during the opening and end credits of the Spanish TVE series Planeta imaginario.
Arabesque No. 1 is used in the third season of the British television show Skins (2009), featuring in JJ's episode along with other Debussy pieces such as Golliwogg's Cakewalk and Clair de lune, where the impressionist music reflects JJ's inner thoughts and emotional personality.
Arabesque No. 1 is appropriated on R&B/Soul singer Alicia Keys' track "Like the Sea", from her 4th studio album The Element of Freedom. Arabesque No. 1 was also sampled by the American musician Panda Bear (musician) on the track "Lonely Wanderer", which features on his 2015 album Panda Bear Meets the Grim Reaper.
- Stillman, Mimi (Fall 2007). "Debussy, Painter of Sound and Image". The Flutist Quarterly 33 (1): 41–46.
- Lesure & Smith (eds.) Debussy on Music 1977, p84. Cited in Stillman, Mimi (Fall 2007). "Debussy, Painter of Sound and Image". The Flutist Quarterly 33 (1): 41–46.
- Olson, Lynn Freeman (1985). Debussy -- Deux Arabesques for the Piano. Alfred Music Publishing. ISBN 0739023063.
- "'STAR GAZER' Most Frequently Asked Questions". Jack Horkheimer: Star Gazer. Retrieved November 16, 2009.
- "Frikis Inside: Recordando la TV de ayer: Planeta Imaginario".
- "Episode 7: JJ". Skins Music. Skins Music. Retrieved 13 October 2012.
- "Arabesque". 1st Piano - solo classical. 1stpiano.com. Retrieved 13 October 2012.
- "Alicia Keys's Like the Sea sample of Claude Debussy's Arabesque No. 1". Who Sampled. WhoSampled.com Limited. Retrieved 13 October 2012.
- Djibriel. "Final Fantasy V Walkthrough". Caves of Narshe FF5. Josh Alvies (Rangers51). Retrieved 13 October 2012.
- "Alfred Hitchcock's - The Birds (Full Instrumentation)". Key Poulan Music. Retrieved 13 October 2012.